Place: United States

What To Do With an Untranslatable Text? Translate It Into Music

Translators and musicians team up on a sweeping audio interpretation of Finnegans Wake

Finnegans Wake, the final book by Irish writer James Joyce, is a bit like the alien language in the movie Arrival. As the film’s spaceships tower mysteriously over the Earth, so Joyce’s book casts its strange shadow over world literature. Most literary minded people are aware of the text’s presence, but no one actually knows how to read the book, save for a select few who claim it is the greatest thing ever written.

In order to read Finnegans Wake, you must become a translator. You must translate the text out of it’s idiosyncratic, multilingual semi-nonsensical language, and into… music? For example, see Rebecca Hanssens-Reed’s interview with Mariana Lanari, about the process of translating the Wake into music.

For the last three years I’ve pursued the music that is Finnegans Wake. I organize an ongoing project called Waywords and Meansigns, setting the book to music. This week we release our latest audio, which is 18 hours of music created by over 100 musicians, artists and readers from 15 countries. We give away all the audio for free at our website (and you can even record your own passage, so get involved!)

Listen to a clip of the project here!

It might sound strange, but translating the book into music is easier than, say, translating it into another foreign language. But that hasn’t deterred Fuat Sevimay, who translated the book into Turkish, nor has it stopped Hervé Michel, who calls his French rendering a “traduction” rather than a “translation.”

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Section Editors’ Highlights: Spring 2017

Insights from the experts on the Spring 2017 Issue of Asymptote

Looking for new entry points into the latest issue of the journal? The section editors of this behemoth cash of international literature, out just last week, are here to guide you!  

In this spring issue, the drama section features two complementary pieces—one from Catalonia and the other from Poland. Both portray hellish, nightmarish worlds in a distinct, unique theatrical manner. Grzegorz Wroblewski’s The New Colony in translation by Agnieska Pokojska depicts a claustrophobic asylum where patients/citizens live out their days in a state of restless, mocking unease. Wroblewski’s text is typical of what has been deemed “post-dramatic” theatre (in Hans Lehmann’s terms). It is an open text which offers its audience an intentionally disorientating roadmap to a contemporary world that is fractured and broken, where individuals seek wholeness despite all signs that such a search is hopeless.

Written as a proto-feminist cabaret, Beth Escudé i Gallès’s Diabolic Cabaret in translation by Phyllis Zatlin, looks at an elemental Eve, channeling visions of historical female icons throughout history. Is guilt a woman? To whom will society place its blame in times of war? Helen of Troy? Other alluring, bewitching sirens up to no good? Escudé i Gallès teases and cajoles her audience in a piece that through anarchic humor questions the roles we all play to claim concepts of territory, identity, and ownership. Both Wroblewski and Escudé I Gallès are from the same generation, even though they represent different cultures and sensibilities as dramatists. It’s fascinating to see two skilled and provocative playwrights, in fine translations, address states of fear and anxiety all too prevalent in the modern world.

—Drama Editor Caridad Svich

Among three exceptional essays—including one that introduces readers to the brilliant but tortured Swiss writer, Hermann Burger, and another that briefly loiters at the fork in Iran’s contemporary literary scene—I found myself particularly drawn to Noh Anothai‘s generous and intimate reflections on a world turned akimbo, seen through the eyes of Thai poet, Saksiri Meesomsueb. As we follow Anothai through the pages of Meesomsueb’s award-winning collection, That Hand is White, and from north Bangkok to Chicago and back, I’m reminded once more of literature’s gift in transgressing borders, its necessary lucidity, kindness, and prescience; and consequently, its call for response. Only with clean hands can we clean the world, Meesomsueb tells us. Dear Reader, what will you do next?

—Writers on Writers Editor Ah-reum Han

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Weekly Dispatches from the Frontlines of World Literature

Your Friday update from Argentina, Mexico, and Taiwan

TGIF because we have so much to tell you about the literary goings-on around the world! From book fairs in Argentina to new electronic media in indigenous languages from Mexico, to touring documentary screenings in Taiwan, this week has been packed with exciting news.

Sarah Moses, Editor-at-Large for Argentina, reports on upcoming events:

On March 22, The Museo del Libro y de la Lengua launched “Déjalo Beat. Insurgencia poética de los años 60,” an exhibit that seeks to bring attention to the beatniks porteños, a group of Buenos Aires authors and poets who embodied 1960s counterculture through works that were genre-bending and anti-academic. Open until July, the exhibit showcases magazines, photographs, early editions of novels, and other audiovisual material from writers including Reynaldo Mariani, Poni Micharvegas, Sergio Mulet, Ruy Rodríguez, and Néstor Sánchez. “Celebración Beat. La belleza de lo roto,” a multidisciplinary work of theatre based on texts from fifteen of the authors included in “Déjalo Beat” will be performed at the museum on April 7.

Bar Piglia, located in Buenos Aires’s Library of Congress, was inaugurated on March 31. The café commemorates Ricardo Piglia, who passed away on January 6; its walls are decorated with a mural and photos of the writer, and its shelves contain copies of his books. Piglia knew of the homage and, hours before his death, completed a piece tracing a history of the library and the role it had played in his life. The text was read by actress Cristina Banegas on the first night of “Palabras Vivas,” a reading series that will take place at the café.

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Meet the Publisher: Open Letter’s Chad Post on the Industry’s Progress and Future

At least you’re not publishing purely into a void anymore.

Open Letter was founded in 2007 as the University of Rochester’s literary translation press. It aims to bring world literature to English readers as well as provide an opportunity for the university’s translation students to learn about the publishing process. Open Letter releases ten books a year, translated from languages and countries across the globe. The press also runs the Three Percent website, a platform for discussing contemporary literature in translation. The site is regularly updated with articles, reviews, and podcast episodes. Asymptote’s Editor-at-Large for Argentina, Sarah Moses, spoke to publisher Chad Post over Skype about changes in the literary translation industry and some of the Open Letter titles he’s excited about.

Sarah Moses (SM): I’d like to begin by asking you how Open Letter got started.

Chad Post (CP): Open Letter got started back in 2007 when I came to the University of Rochester from Dalkey Archive Press with a couple of other people that had been working at Dalkey as well. The idea was that the University of Rochester wanted to put together a literary translation program for undergraduate and graduate students, and as part of that wanted there to be a practical component that would be publishing a high-quality line of books that would bring attention to the program and to the university, and also be providing a lot of resources for students so they could intern; they could learn how a book gets edited; how it gets published; why it gets published and some other book does not; and how to market and promote translations, as well. So reaching as wide a range of people as possible and being able to understand the business side of things to go along with the theory of translation stuff and the practice of having to do a full-length translation. Because here at the university, in the translation program for master’s students, your thesis is a full book-length translation that should be publishable. The way that it’s most publishable is if they work with us and learn that component of it rather than just being in the classroom and being disconnected from the actual community. So we were brought in to be that kind of bridge and a sort of connection.

The first book came out in September of 2008. We set everything up in the beginning of 2007, but we knew that it would be a year before the actual books came out and everything was in place.

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What’s New with the Crew? A Monthly Update

From World Poetry Day to PEN competitions, we've had a busy month!

One quick piece of housekeeping news before our regular update! First, thanks to 98 wonderful backers, we’ve raised $13,547 so far toward our project to showcase new work created in response to Trump’s #MuslimBan. (Read the interviews given by our editor-in-chief at The Chicago Review of Books and at the Ploughshares Blog.) With only 7 days left to contribute to our fundraiser, we’ve unveiled a secret perk just for blog readers like you: for $100 apiece, you get first dibs on autographed books from writers like Junot Díaz and Yann Martel, who also stand with us against the travel ban! Fancy your own autographed copy of The Brief Wondrous Life of Oscar Wao while also supporting frontline efforts to reverse Trump’s travel ban (20% of all proceeds of this fundraiser will go to the ACLU and Refugees Welcome)? Want to help keep Asymptote around beyond 2017? Wait no more: Throw in your support for our fundraiser today!

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Educational Arm Assistant Anna Aresi conducted and translated interviews with Scottish poet Kathleen Jamie and Italian translator Giorgia Sensi as part of Mosaici‘s feature for World Poetry Day, which can be read alongside Sensi’s translations of five poems by Jamie.
 
Editor-at-Large for Romania and Moldova Chris Tanasescu (MARGENTO) has published an article entitled “Community as Commoning, (Dis)Placing, and (Trans)versing: from Participatory and ‘Strike Art’ to the Postdigital”  ​in the latest issue of Dacoromania Litteraria.  One of his performances from the CROWD Omnibus tour in 2016, featuring 100 writers from 37 European countries, has recently been released by Forum Stadtpark in Austria.

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In Review: Jorge Argueta’s Bilingual Memoir About Fleeing El Salvador for the States

a brave country / a strong country / a country that shouts

“When I left El Salvador running, I didn’t know where I was heading, but I ran.” Despite the apparent simplicity of its prose, this passage encapsulates the author’s harried flight from his war-torn country in a moment where facing the complete unknown of exile was the best alternative to remaining in his homeland. In a particularly cruel twist, the country he is running from, El Salvador, translates into English as, “The Savior,” and the country the author eventually comes to, the United States, is responsible for fanning the flames of El Salvador’s Civil War (1980-1992) in an effort to win its own Cold War against the former Soviet Union.

With this story of fleeing in the face of conflict at its core, Jorge Argueta’s brilliant En carne propia: Memoria poética/Flesh Wounds: A Poetic Memoir (Arte Público Press, 2017) emerges as a text that challenges straightforward narratives surrounding immigration to the United States from Latin America, and remains highly relevant despite taking place in the 80s. Those readers already familiar with Argueta’s work through his award winning children’s literature may be shocked to find the author’s personal history laid bare in a genre-bending poetry-prose narrative (in Spanish with an accompanying English translation) that does not shy away from his childhood environs “teeming with drunkards, prostitutes, servants, popsicle vendors, mechanics—the working class or the poorest of the poor” nor “an entire generation disappearing” during El Salvador’s Civil War. Those unfamiliar with Argueta’s previous publications or with contemporary Latinx literature in general will find themselves grappling with a text that at times appears both intimate and alienating as it guides the readers through the lasting consequences of a Central American Civil War that most Americans have long forgotten if they have heard of it at all.

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Weekly Dispatches from the Frontlines of World Literature

The latest from Iran, the United States, and Morocco!

Ready for your Friday World Tour? We touch down in Iran just in time for the New Year celebrations—for which thousands of books are exchanged! Then off to the States, where writers of all backgrounds are reacting to the political tumult of the times. Finally in Morocco, we’ll catch the National Conference on the Arabic Language. Let’s get going!

Poupeh Missaghi, Editor-at-Large for Iran, updates on the New Year celebrations:

The Persian year of 1395 (SH for solar Hijri calendar) will come to an end and give way to the year 1396 on Monday March 21st, the day of the spring equinox, at exactly 13:58:40 Iran’s local time. The arrival of the New Year and spring is celebrated with various Nowruz (literally meaning “new day”) traditions such as haft sin, the special table spreading that consists of seven different items all starting with the Persian letter س [sin or the “s” letter], each symbolizing one thing or another. The International Nowruz Day was inscribed on the list of UN’s Intangible Cultural Heritage of Humanity in 2009.

To welcome the New Year, the Iranian literary community, like the previous year, has set up a campaign entitled Eydane ye Ketab [Nowruz gifts of book]. It began on March 5th and will run for a month, aiming to promote buying books as eydi (gifts for the Persian New Year) for friends and family instead of offering money or other gifts, or even as replacements for the calendars that companies widely give out as promotional year-end gifts. More than four thousand publishers around the country are part of this campaign and offer more than one million titles with special prices. In the first seven days of the campaign, more than 190,000 books were sold.

Some of the translation titles on the bestsellers list of the Eydane, have included: The Forty Rules of Love: A Novel of Rumi by Elif Şafak; Me Before You by Jojo Moyes; A Fraction of a Whole by Steve Totlz; After You by Jojo Moyes; Asshole No More, The Original Self-Help Guide for Recovering Assholes and Their Victims by Xavier Crement; The 52-Story Treehouse by Andy Griffiths and Terry Denton; One Plus One by Jojo Moyes; and The Little Prince by Antoine de Saint-Exupery.

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Translating Humor: Jessica Cohen Gets Jokes to Land in Second Language

“If it bends, it’s funny; if it breaks, it isn’t.”

In his latest novel, the Israeli author David Grossman sets himself a near impossible task—to write a tale of tragedy set at a comedy club, all in the course of single stand-up set. As Gary Shteyngart warns in The New York Times Book Review, it’s a work that “only a true master—a Lenny Bruce, a Franz Kafka—could dream of replicating. Don’t try this at home, folks. I know I won’t.” A Horse Walks into a Bar, translated by Jessica Cohen and just longlisted for the Man Booker International Prize, is a 194-page tour de force and, again citing Shteyngart, “there is nothing extraneous, not one comma, not one word, not one drop of comic’s sweat . . . Its technical proficiency is astounding.” Of course he’s referring here to the English-language edition, not to the original Hebrew, which makes this is in large part a compliment to Jessica Cohen, who somehow gets the jokes into English. This despite the translator’s three greatest obstacles: puns, idioms, and foreign context. Even the setting of the novel, Netanya—an apparently dumpy Israeli city—is the butt of countless jokes. Won’t the American reader, unfamiliar with the place or references, yawn through this all? Not this American reader, who read the novel in a single sitting, laughing and crying, at first in turns and, by the end, simultaneously. Figuring out how Cohen managed to “[turn] the performance into fluent, America-style patter, bad-a-bing bad-a-boom,” as Ken Kalfus writes for The Washington Post, is precisely why I’m talking to her now.

Here’s a quick run-down of the plot: Dov Greenstein (stage name: Dovaleh G) is an aging comedian with a tragic past. In one night of stand-up—to which he invites an old friend, Avishai Lazar, a witness to the defining event of this tragic past—Dov takes the crowd on something of a haunted hay ride. He cracks them up, taunts them, taunts (and hits) himself, bores them, entertains them again, loses their respect, and sheds his dignity openly, meanwhile sharply critiquing his native country and opening up important discussions about historical atrocities (his mother was a Holocaust survivor) and personal grief. The tale’s central event, recounted between barbs, potshots, and one-liners, takes place at a junior Israeli Army camp, when Dovaleh was 14—but that’s all I’ll say.

Todd (T): Here you have a book set in Netanya, a city that no American—and maybe no Israeli?—has ever heard of, and, as in most stand-up sets, the comedian breaks the ice by slamming the host city. Again and again. How did you approach this dilemma? Did you find yourself having to add context here and there, to let foreign readers in on the joke?

Jessica (J): Every translator knows she will run into something maddening in the course of a translation—a colloquialism with no equivalent in English, a culturally-specific term that can’t be neatly translated, etc. But I don’t usually expect to hit this brick wall in the very first sentence of a book, and that’s what happened with A Horse Walks into a Bar. The novel begins with the protagonist, a stand-up comedian named Dovaleh G, yelling from offstage (translated literally): “Good evening, good evening, good evening Ceasariyaaaah!!!” So right off the bat we have the set-up for a joke (which, as you mentioned, is always a challenge to translate), a city that most readers will never have heard of, and to make it worse, this is a line of dialogue, which means there’s little room for explication or “stealth glossing” (to borrow a term coined by Susan Bernofsky). Two paragraphs later, the joke unfolds: “Oh, wait a minute… this isn’t Caesarea, is it?” Dovaleh G then spends several lines building up (and hamming up) the realization that he is in fact not in Caesarea but in Netanya. At this point, if I’d just left things as is, most readers would probably have figured out that there is some sort of dichotomy here: Caesarea is not like Netanya; the speaker is disappointed with his actual location. But that’s not enough to make it funny, and so I needed to somehow get across the conflicting images of these two cities, which every Israeli reader is familiar with. I decided the only way was to add a touch of characterization at the beginning, which is why the final English translation reads: “Good evening! Good evening! Good evening to the majestic city of Ceasariyaaaah!” (the addition is underlined). My hope is that not only does this give an indication of what type of city Caesarea is (an exclusive seaside town populated by the rich and famous) but also gets across some of Dovaleh’s hallmark cynicism.

As for Netanya, it is the butt of many jokes in this book, and not completely without reason. It’s not a “dump” in the traditional sense—Netanya sits on the coast of the Mediterranean, only 20 miles north of Tel Aviv, and has some beautiful beaches. But that’s probably the best thing it has going for it. Roughly a third of its 200,000 residents are immigrants, many of whom are unemployed, and it has a long-standing association with organized crime, which is the main basis for the book’s Netanya-related jokes. I remember Grossman mentioning that among the many letters he received from readers after the book came out, quite a few were from Netanya residents who were outraged at his perpetuation of the stereotypes about their city! But back to the translation: once I had done what I could to establish the general schema of Caesarea vs. Netanya, I had to trust that the nuances of Netanya’s image would come through in the other jokes and put-downs that Dovaleh strews throughout his performance.

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What’s New with the Crew? A Monthly Update

Another month and another slew of publications and projects by our team members!

Very quickly: two pieces of housekeeping news before our regular update! First, thanks to 84 backers, we’ve managed to raise $12,896 for our upcoming feature on the Muslim-majority countries banned by Trump, with 20% of funds raised donated toward the ACLU and Refugees Welcome. (This fundraiser has received coverage in The Bookseller and more will be forthcoming at The Chicago Review of Books and at the Ploughshares Blog. If you’re from a high-profile media outlet and would like to help us spread the word, please drop us a note!) The more we raise, the bigger and more comprehensive our April showcase can be; in fact, we’ve already launched our call for new work in response to Trump’s executive order (Deadline: Mar 15). Only 33 days remain to contribute to our fundraiser; don’t wait, make your stand against the #MuslimBan today!

Second, we’ve updated our ongoing recruitment call (deadline: Mar 17) to include two more positions: Assistant Blog Editor and Assistant Managing Editor. Check out all available volunteer positions here.

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Poetry Editor Aditi Machado was recently featured in conversation with Jane Wong on LitHub. She also spoke on a panel with Pierre Joris, James Shea, and Jennifer Kronovet about ‘Translation as a Political Act‘ at the AWP Conference 2017.

Assistant Editor Alexis Almeida‘s translation of Roberta Iannamico’s Wreckage has been selected for publication in chapbook form by Toad Press. It will be released in late summer or fall of this year.

Slovakia Editor-at-Large Julia Sherwood‘s new translation of Balla’s award-winning novella In The Name Of The Father, co-translated with Peter Sherwood, has been announced as forthcoming from Jantar Publishing, scheduled for May.

UK Editor-at-Large M. René Bradshaw‘s review of Tennessee Williams’ The Glass Menagerie at the Duke of York’s Theatre, directed by John Tiffany, recently appeared in The London Magazine. 

Chief Executive Assistant Theophilus Kwek has written an essay for the Stephen Spender Trust’s website on translation and displacement. He has also launched the second issue of his co-edited poetry journal, The Kindling, and published a new poem in Wildness Journal. 

Indonesia Editor-at-Large Tiffany Tsao has published a translation of a poem by Norman Erikson Pasaribu in Cordite Poetry Review‘s special issue on “Confession”.

Chile Editor-at-Large Tomás Cohen has published poems in the most recent issues of Edit (Leipzig), and PARK (Berlin), in translation by the prize-winning poet and essayist Monika Rinck, a contributor in our Fall issue. Further poems of Tomás have been published bilingually in NOX, a journal for young literature from Hamburg.

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Read More Dispatches from the Asymptote Team!

Weekly Dispatches from the Frontlines of World Literature

This week's literary news from Singapore, Latin America, and the US

The week is drawing to a close, and it’s time for a quick wrap-up. This time we’re visiting South and North America where Mexico Editors-at-Large Paul Worley and Kelsey Woodburn, and Executive Assistant Nozomi Saito bring us the latest news. Our final pit stop is in Singapore, where Chief Executive Assistant Theophilus Kwek has been following a new literature campaign, among many other developments. Enjoy!

Our Mexico Editors-at-Large Paul Worley and Kelsey Woodburn had this to tell:

In collaboration with the Mexican Secretary of Culture, on January 24 in Mexico City’s Fine Arts Palace Pluralia Ediciones presented its latest publication, Xtámbaa/Piel de tierra (Earthen Skin) by Hubert Malina (Guerrero State, 1986). Malina’s volume is the first work of poetry published in the Me’phaa language (known by outsiders as Tlapaneco), a language with roughly 100,000 speakers. According to the press release, Malina’s work stands out for its lovingly realistic portrayal of life and community in the mountains of Guerrero. Zapaotec poets Natalia Toledo, 2004 winner of the Nezahualcóyotl Prize in Indigenous Literatures, and Irma Pineda participated in the event, providing commentary on Malina’s work. In particular, Toledo stated that a voice like Malina’s has been lacking within the contemporary indigenous language scene, while Pineda added that Malina’s work balances themes of traditional stories with current realities, guiding the reader through both the beautiful and the difficult contemporary indigenous life. The unveiling of this new book also precedes this February’s Me’phaa Language Festival, to be held in Paraje Montero, Mexico, on Tuesday, February 21 from 9am until 4pm.

In Guatemala City, Guatemala, on February 1 Caravasar hosted an event to celebrate the release of Tania Hernández’s latest work, Desvestir santos y otros tiempos [Undressing Saints and Other Epochs]. This latest publication will no doubt be an excellent addition to the author’s existing work that deals with life in contemporary Guatemala from a feminist perspective. The event was hosted by Rodrigo Arenas-Carter and the groundbreaking Maya poet, book artist, and performance artist Manuel Tzoc Bucup, among others. The event was streamed in real time via Facebook Live.

Finally, poets from all over the world will descend on Medellín, Colombia from July 8-15, 2017, to participate in the 27th International Medellin Poetry Festival. Updated in mid-January, the list of invited poets is a truly remarkable, international lineup, including authors from Algeria, India, Vietnam, Syria, and the UK, in addition to those from throughout Latin America. This will certainly be an event you can’t miss!

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Weekly Dispatches from the Frontlines of World Literature

Updates from Spain, Morocco, and the United States, from the Asymptote team

This week, we visit Morocco with new Editor-at-Large Jessie Stoolman, who tells us about a new play based on a classic novel. Then in Spain, we have a publishing update with Editor-at-Large Carmen Morawski, and onto the United States, we strap in for today’s Presidential Inauguration and writers’ reactions to the historic event. 

Editor-at-Large Jessie Stoolman reports from Morocco:

A theatrical interpretation of Mohammed Khair Ed-dine’s novel Le Déterreur [نباش القبور], adapted by Cédric Gourmelon and starring Ghassan El-Hakim, is currently on tour in Morocco, with the next performance set to take place on January 21 at the House of Culture [دار الثقابة] in Tetouan.  In the novel, a man from southern Morocco shares his countercurrent perspectives on living in a marginalized community inside a wider, fractured, postcolonial space as he recounts his life story.

Winner of numerous literary awards, including Jean Cocteau’s Les infants terribles literary prize for his novel Agadir, Khair Ed-dine (or “The Blue Bird,” as he is sometimes called) mainly wrote poetry and novels in French. He is credited with establishing a new style of writing, what he coined guérilla linguistique, that resists, in both form and content, linguistic or societal domination. Considering his prolific contributions to the genre of revolutionary writing, it is unsurprising that Khair Ed-dine is commonly grouped among renowned, twentieth century North African authors writing in French, such as Assia Djebar, Yacine Kateb, Abdellatif Laabi, Driss Chraibi, and Tahar Ben Jelloun.

Some of Khair Ed-dine’s work has been translated into German and English. For more about the German translation of his posthumously published novel Once Upon a Time There Was a Happy Couple (Es war einmal ein glückliches Paar), Qantara.de published this article, which includes a summary of the book with excerpts and information about the writer.  Similarly, to read a sample of Khair-Eddine’s poetry translated into English, see this piece from Jadaliyya, that includes four poems from his collection Ce Maroc!

In other literary news, only a few more weeks until Morocco’s largest book fair will be back!  The 23rd edition of the International Book Fair in Casablanca will open on February 9.

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Book Recommendations for the New Normal

Suggested reading for the fast-approaching U.S. Presidential Inauguration and our changing world politics

This Friday, real estate mogul Donald Trump will be sworn is in as the 45th President of the United States. Last month, Italy’s citizenry voted effectively for the resignation of its Prime Minister, Matteo Renzi, in a referendum applauded by France’s right-wing, nationalist party leader Marine Le Pen, while another far-right conservative, Francois Fillon, is expected to win the French presidential election in May. Last summer, the world watched the historic Brexit vote, and Austrian presidential candidate Norbert Hofer, who ran on the promise of an Austrian Brexit, lost the nation’s vote by a very close margin last month.  

The political climate all over the west is profoundly changing, and those who failed to predict the current developments are scrambling to make sense of them. Book proposals by diplomats, pundits, and economists are flooding publishers’ inboxes, all claiming to have the most accurate analysis of the causes of Trump’s win or Britain’s isolationism. But a look at the past, and some past literature, suggests that perhaps we should be surprised at our own surprise. We gathered some book recommendations to prepare you for this Friday and the vast challenges ahead because—wait for it—knowledge is power (sorry!) and there are many already-published texts, many in the history category, with a wealth of relevant knowledge to impart.

Asymptote’s Marketing Manager David Maclean suggests you check out:

Stefan Zweig’s The World of Yesterday , translated by Anthea Bell (Pushkin Press, 2013)

“As a great many political pundits have pointed out, the resurgence of nationalist and far-right movements throughout Europe has more than a passing resemblance to the initial rise of fascist groups prior to the Second World War. Disguised as an autobiography, Zweig’s The World of Yesterday offers a coruscating portrayal of the idealism of pre-war Europe and the European cross-cultural project, as well as the fragility of the ideals of Enlightenment in the face of (dangerously) cynical realpolitik, ignorance, and the fostering of prejudice. The nation cannot be loved above all else, warned Simone Weil, since it has no soul—and indeed it is the balkanization of Europe that Zweig portrays as a logical result of nationalist movements that propagate loyalty to the nation above all else. His book is also one of resistance, of the possibility for literature and art to resist the totalitarianism of thought imposed upon us through exercising our creative imaginations—an understated but underestimated daily act of resistance.”

The Word for World is Forest by Ursula le Guin (Tor Books, 2010)

“I had thought to include Rachel Carson’s seminal 1962 book The Silent Spring, which arguably thrust eco-criticism and global conservation into the mainstream debate, but since the United States’ president-elect seems intent on living in a fantasy world regarding man-made climate change, I decided to be magnanimous and stick with his chosen genre. The novella details a logging colony established on the fictional planet of Athshe by Earth’s military-industrial complex, which is slowly but surely denuding the planet of its primary resources and leaving vast swathes of it barren and lifeless. The novel hinges on a conflict of ideologies between the native population, which may be well be seen as a surrogate for nature, and ourselves (the Terrans) who view nature as a disposable resource for immediate consumption and have little to no regard for the long-term consequences. In the Athshean language, the word for “forest” is also the word for “world”, showing the dependence of the Athshean culture upon the forest, much as we all depend upon a fecund, hospitable world that continues to dance on the brink of ecological ruin.”

Blog Editor Madeline Jones found pertinent wisdom in:

The Beautiful Country and the Middle Kingdom: America and China, 1776 to Present by John Pomfret (Henry Holt, 2016)

“We all know that the U.S. president-elect likes to make China a scape goat for basically whatever he thinks is unsatisfactory about American affairs that he can’t conceivably blame on Crooked somebody or Lyin’ somebody else. Of Trump’s targets of aggression now that he’s been elected, China perhaps comes in second only to FAKE NEWS (caps his). We’ve all heard the “Gina” jokes. His lack of understanding of diplomacy generally but particularly regarding China is near-comical, so it’s difficult to even wrap your mind around the implications of his attitudes toward the world’s largest economy, but it is vital that at least someone in his administration does. In the meantime, I decided to try to understand the nuances of the relationship better myself. This book is invaluable—and highly readable—to that end. It’s not short, but it’s a one-stop shop.”

The Fire This Time, edited by Jesmyn Ward (Scribner, 2016)

“Pointedly drawing inspiration from James Baldwin’s The Fire Next Time, Ward has gathered responses from her generation’s most eminent voices on race in the form of critical essays, personal reflections, and poetry. From Jericho Brown to Daniel Jose Older, Claudia Rankine to Clint Smith, the contributors make this a worthwhile read for its own, aesthetic sake, but it’s also an emotional and timely reminder of the ways in which society has not changed since Baldwin was writing, the areas in which there is still vital need for improvement. While newspapers and magazines have been praising J.D. Vance’s memoir Hillbilly Elegy since Trump won the Republican nomination as the book to understand America today, I found Ward’s book to be an important counterargument to that narrative, especially given Jeff Sessions’s imminent confirmation by the Senate. Vance’s book has merit, certainly, but the current focus on “understanding the white working class” cannot be emphasized at the expense of a focus on race relations and the continued economic and privilege gap between white Americans and black and Hispanic Americans. Reading Hillbilly Elegy is a worthwhile exercise in empathy, but it’s no more important than reading Ward’s collection. Baldwin wrote, ‘You think your pain and your heartbreak are unprecedented in the history of the world, but then you read.’ There is plenty of pain and heartbreak in The Fire This Time, too.”

Blog Editor Hanna Heiskanen recommends:

The Establishment: And How They Get Away With It by Owen Jones (Penguin, 2014)

“British journalist and writer Owen Jones (b. 1984) hasn’t made a secret of his political inclinations (very left-wing, in case you haven’t heard), and he was a staunch critic of Donald Trump throughout his election campaign. His 2014 book, The Establishment: And How They Get Away With It, which was met both with great praise and criticism, zooms in on the power structures of British society and is now more relevant than ever. Owen claims that while the people continue voting in elections, behind the scenes, a network of the unelected, unaccountable, and immensely powerful advisors and diplomats control our lives and steer decision-making. Though Jones’s book focused on the UK and some of its seemingly unique features, such as the grooming of the new ruling class at top universities, or the privatisation of public services, its fundamental premise applies to almost any country you could point to on the map. Whether you grew up in a Nordic welfare society or listening to stories about the American Dream, this makes for a relevant, albeit depressing, read.”

The Communist Manifesto by Karl Marx and Friedrich Engels (1848, 2015 Penguin)

“It might be old, and many would say old-fashioned, but the grand ideologies of the 19th and 20th centuries, capitalism and communism, continue to have an undeniable impact on our societies and politics. Many have explained the rise of the far-right and nationalist sentiments around the world with the collapse of traditional industries that would have supported generations of working families who now feel unnecessary or displaced. Now, with the rise of China as a world power, as well as a future in which robots will take over an increasing number of tasks from humans, Marx’s writings suddenly don’t seem as outdated anymore.”

And literary critic Harold Bloom offered:

“The only thing I can think of right now is Yeats’ ‘The Second Coming’.”

*****

Read More Book Recommendations:

Monthly Update from the Asymptote Team

New year, same busy Asymptote members! Check out what we've been up to, from the page to the stage.

Poetry Editor Aditi Machado‘s translation project, ‘Sentences / Sententiae’, has been published in its current form in the latest issue of Almost Island. Her work also appears in Folder Magazine‘s latest print collection, and you can read a section of her recently-published translation of Farid Tali’s Prosopopoeia in The Guardian. 

‘After Orlando’, a theatre action piece co-led by Drama Editor Caridad Svich, was performed in New York and London, and featured in Exeunt Magazine. Her review of Chris Goode’s The Forest and the Field: Changing Theatre in a Changing World, was also published in the Contemporary Theatre Review. 

India Editor-at-Large, Poorna Swami, has a poem in the third issue of Prelude Magazine. Her interview with art critic and photographer Sadanand Menon on ‘Nationalism and Dance’ has also been featured in Ligament. 

A new short story by English Social Media Manager Sohini Basak has been published in the latest issue of Out of Print, and another was published earlier in December in 3:AM Magazine. 

Chief Executive Assistant Theophilus Kwek‘s New Year’s Eve round-up on ‘2016: A Year in Translation’ was published in The Oxford Culture Review. He also has a new poem in the current issue of The London Magazine. 

Indonesia Editor-at-Large Tiffany Tsao appeared on a segment of ABC iview’s ‘Bookish’ programme to discuss the question, “What is ‘Asian’ Literature?” Her novel, The Oddfits, appears on 2016’s ‘Top 5’ list of Superhero Novels 

Chile Editor-at-Large, Tomás Cohen, helped to present ‘Hafen Lesung #9‘, a multilingual literary evening in Hamburg. His poem, ‘Andarivel’ (from his collection, Redoble del ronroneo), was featured on Vallejo and Co., while a Greek translation of the same poem was also published this month in Vakxicon. 

Finally, if you missed it in December, check out Asymptote‘s lovely feature in The Hindu, and read the full version of our Editor-in-Chief Lee Yew Leong’s interview on our blog!

*****

Sign up to be a sustaining member today at just $5 a month! We’re still short of hitting our target by several members; each additional membership takes us closer to being able to operate beyond April 2017.

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Read More Dispatches from the Asymptote Team:

Asymptote Podcast: Readings: The Tarot in Literature

We explore the Tarot and its influence on different corners of fiction and poetry from around the world.

Our last Asymptote Podcast for 2016 takes a turn for the mystical as we explore the Tarot and its influence on different corners of fiction and poetry from around the world. In recent times, there have been many new “translations” of the Tarot in updated editions of the mysterious 78-card deck: see, for example, the ingenius “Black Power Tarot” deck by the Canadian Musician King Khan, who found his inspiration after attending readings by Chilean director Alejandro Jodorowsky! We’ll also delve into Spanish artist Andres Marquinez Casas’s “Macondo Tarot,” a deck crafted with characters from One Hundred Years of Solitude by Gabriel García Márquez, and hear from the creator of the most recent Tarot reimagining, American artist Courtney Alexander who has updated the ancient deck with characters like Grace Jones and Duke Ellington. Stay tuned: you might just have your future unveiled! This is the Asymptote Podcast.

Podcast Editor and Host: Layla Benitez-James